Bond Street's Max Wigram Gallery is currently showing 'Afyon', a four screen film work by Mustafa Hulusi.

A Turkish Cypriot, born and educated in the UK, Hulusi’s work has always involved looking at his culture and identity. He draws inspiration from his visits to Turkey, where the artist has become fascinated by the very visible layering of history; evident in the archaeological remains sitting cheek by jowl with modern buildings.

By extension, Hulusi is interested in the evolution of identity, how his own family, whose origins were a mixture of the peoples who travelled and traded on the silk road - from Frankish invaders to Venetian merchants, Turkic nomads to Persian craftspeople - is now becoming British.

In Afyon; a video installation on view until the end this month, the camera pans across fields of poppies, an endless sea of stems and buds that envelop in a languid sensuality. The mournful strains of the oud enhance this tranquil landscape and Hulusi's installation immerses the viewer, floor to ceiling, in floral abundance.

Yet these seductive fields of Hulusi's Afyon are also subtly woven with a complex social and political history.

The word 'Afyon' comes from the province in Western Turkey where it is thought that the poppy originated. From time immemorial, the opiate form of the plant has been used as an aid to worship, an intoxicating substance to intensify the religious experience; it has been used as a poison by assassins; then for medicinal purposes; it has been the subject of wars that resulted in Britain's imposition of punitive trading laws on China; but also and, more latterly, as a source of income to fund the current anti-colonial wars in Afghanistan.

Hulusi's work, set in what was the centre of opium production, thus carries more than a simple sensory pleasure, however light the artist's touch.